Frank Howes, another sympathizer of the nationalists, echoed this sentiment as late as 1966 in his book, The English Musical Renaissance:

Born in 1879, he [Bridge] was one of the first generation to benefit from the influence of Parry and Stanford, which meant that he grew up at the end of the romantic period and spoke its harmonic language naturally, but lived on into the reaction against it after the First World War and became aware of finding himself being
shelved at the height of his career. To meet this galling situation he did what Bax, who was an even more conspicuous victim of the Zeitgeist, refused to do: he began to uglify his music to keep it up to date.8

While Vaughan Williams's reputation was becoming steadily enhanced during the 1920s, Walton's was increasing by leaps and bounds. Façade created a furore at its first public performance on 12 June 1923 at the Aeolian Hall, when the composer was only
twenty-one, and two months later his early string quartet was played at the first festival of the ISCM. Bridge had never had such a comparable success and was naturally envious. Following the première of Walton's First Symphony in December 1934, its finale omitted because not completed in time, Bridge could restrain his feelings no longer:

Possibly no English work of recent times has had such enormous publicity - such as a performance of the first three movements before the work was finished, besides all the amount of press puff which is allotted to few.9

He had a sympathetic ear in Britten, however, who disliked the work as much as he did, although both Marjorie Fass and Ethel Bridge enjoyed it, Ethel hearing a lot of Frank in the slow movement. 10